Mise-en-Scène (Part 2)

0.0(0)

Studied by 0 people

Call Kai

Learn

Practice Test

Spaced Repetition

Match

Flashcards

Card Sorting

1/18

Earn XP

Description and Tags

This lecture continues to discusse mise-en-scène, the arrangement of visual elements within the stage (in theater) or the frame (in film).

Last updated 4:25 AM on 7/30/26

Name	Mastery	Learn	Test	Matching	Spaced	Call with Kai	Chat

No analytics yet

Send a link to your students to track their progress

19 Terms

New cards

Closed Form

Contains all necessary information within the frame, often used to evoke a sense of artificiality. Self-conscious, visually appealing, stylized. Favored by formalists.

<p>Contains <strong>all necessary information</strong> within the frame, often used to evoke a sense of artificiality. Self-conscious, visually appealing, stylized. Favored by <strong>formalists</strong>.</p>

New cards

Open Form

Randomly cutting objects and figures off the frame to imply freedom of choice and spontaneity. Visually unappealing. Favored by realists.

<p>Randomly cutting objects and figures off the frame to imply freedom of choice and spontaneity. Visually unappealing. Favored by <strong>realists</strong>.</p>

New cards

Tight Frame

the subject is tightly confined by the frame of the camera with little room to move around, suggesting constriction, imprisonment, and lack of freedom.

<p>the subject is tightly confined by the frame of the camera with <strong>little room to move around</strong>, suggesting constriction, <strong>imprisonment</strong>, and lack of freedom.</p>

New cards

Loose Frame

Subject(s) have more room to move around within the frame of the scene, suggesting freedom.

<p>Subject(s) have <strong>more room to move around</strong> within the frame of the scene, suggesting <strong>freedom</strong>.</p>

New cards

Deep Focus

Everything is in focus, including the foreground, midground, and background.

New cards

Shallow Focus

Only foreground or background is in focus, calling attention to one plane only.

New cards

Top of Frame

Controls visual elements such as power, authority, aspiration, threatening, danger, and superiority.

<p>Controls visual elements such as power, authority, aspiration, <strong>threatening,</strong> danger, and <strong>superiority</strong>.</p>

New cards

Bottom of Frame

Seems vulnerable, subservient, powerless, and in danger.

<p>Seems <strong>vulnerable</strong>, subservient, powerless, and in danger.</p>

New cards

Edge of Frame

Person seems insignificant

New cards

Center of Frame

Grabs attention, seemingly commanding the scene.

New cards

Full-Front

Facing the camera. Most intimate. Can be confrontational if the character is frightening. Can be seductive if the character is likeable.

<p><strong>Facing the camera</strong>. <strong>Most intimate</strong>. Can be confrontational if the character is frightening. Can be seductive if the character is likeable.</p>

New cards

Quarter Turn

Positioned towards the camera at a slight angle. Favored by filmmakers for high degrees of intimacy and less involvement than a full position.

<p><strong>Positioned towards the camera at a slight angle</strong>. Favored by filmmakers for high degrees of <strong>intimacy</strong> and less involvement than a full position.</p>

New cards

Half Turn/ Profile

Character looks to the left or right. More remote. Character seems unaware of being observed. Lost in thought.

<p><strong>Character looks to the left or right</strong>. More remote. Character seems unaware of being observed. <strong>Lost in thought</strong>.</p>

New cards

Three-Quarter Turn

Back is partially turned to the camera. More anonymous. Conveys unfriendly or antisocial feelings.

<p><strong>Back is partially turned to the camera</strong>. More anonymous. Conveys <strong>unfriendly or antisocial</strong> feelings.</p>

New cards

Back-to-Camera

Back is completely facing the camera, suggesting alienation, concealment, or mystery. Can’t see the character’s face; therefore, we can only guess what is happening internally.